By David Morse
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In his examine of Romantic naturalists and early environmentalists, Dewey W. corridor asserts that William Wordsworth and Ralph Waldo Emerson have been transatlantic literary figures who have been either stimulated by way of the English naturalist Gilbert White. partly 1, corridor examines proof that as Romantic naturalists attracted to meteorology, Wordsworth and Emerson engaged in proto-environmental task that drew recognition to the aptitude outcomes of the locomotive's incursion into Windermere and harmony.
Valéry’s Graveyard is in elements. the 1st half offers the French textual content of Paul Valéry’s poem Le Cimetière marin (The Graveyard through the ocean) and a dealing with English translation, through a descriptive account of the poem that units out its major structural and dynamic positive factors and lines its narrative.
This booklet describes the emergence of ecological realizing one of the English Romantic poets, arguing that this new holistic paradigm provided a conceptual and ideological foundation for American environmentalism. Coleridge, Wordsworth, Blake, John Clare, and Mary Shelley all contributed to the elemental rules and middle values of the fashionable environmental circulate; their very important effect used to be brazenly stated via Emerson, Thoreau, John Muir, and Mary Austin.
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Extra resources for The Age of Virtue: British Culture from the Restoration to Romanticism
They are given the opportunity of doing so when they rescue Dorinda and Mrs Sullen, to whom they have become attracted, but characteristically confess. No one will be gulled. Mrs Sullen is freed from an unhappy marriage. Aimwell learns that he has inherited his father's fortune; plotting has become a completely harmless activity. For Farquahar the age of cynicism about human nature was past. In the prologue to The Beaux Strategem he writes: When strife disturbs, or sloth corrupts an age, Keen satire is the business of the stage.
As Lord Foppington says in The Careless Husband: a fine Woman when she's married makes as ridiculous a Figure, as a beaten General marching out of a Garrison. Nevertheless Cibber's happy ending was so obviously contrived that by comparison Vanbrugh's two plays, The Relapse and The Provok'd Wife, which appeared in the following year (the first as a deliberate sequel to Love's Last Shift), seem more satisfactory if only because they make no real attempt to resolve the situation. In each case Vanbrugh presents an unhappy marriage in a more or less serious main plot but leaves it dangling as a kind of problem play by foregrounding a comic sub-plot in the final scenes.
As Shaftesbury rallied Protestant England against the dark machinations of Rome it was suddenly crystal clear that the very same political and ideological forces that had led to the execution of Charles I and which had seemingly been defeated for good were actually still very much in evidence. It was not just James's succession to the throne that was at stake but the very authority of the reigning king. In such a divided and highly politicised world even a loyal supporter of the King and the Duke of York, which Dryden was, could no longer expect to speak of virtue even if he believed in it - which he did - since it would simply be exposed as a coded political discourse rather than as a language of morality.